Singer Carmen Lundy has returned to the scene with an album that can easily be categorized as one of her best yet. With music that is both consistent and a pleasure to listen to, this nine-track collection is entitled 'Changes' and features eight original compositions. It is a CD that will charm you, encourage you to dance, sing along and quite simply will brighten your mood. The tracks speak about love from all angles and include themes ranging from love for neighbors and friends, new love and breakups. With a CD launch planned for March 8 – 11 at the…

Singer Carmen Lundy has returned to the scene with an album that can easily be categorized as one of her best yet. With music that is both consistent and a pleasure to listen to, this nine-track collection is entitled ‘Changes’ and features eight original compositions. It is a CD that will charm you, encourage you to dance, sing along and quite simply will brighten your mood. The tracks speak about love from all angles and include themes ranging from love for neighbors and friends, new love and breakups. With a CD launch planned for March 8 – 11 at the Jazz Standard in New York, and another in LA on March 29 and 30, Carmen took time out to speak to JazzReview about the new CD and her upcoming work.

JazzReview: Carmen, thanks so much for taking time to speak to us. In my book, this recording is indeed one of a high caliber. How did the ideas come together for it? What was the inspiration?

Carmen Lundy: Inspiration, well as you can tell, the songs come from a lot of different points of view and I think what happens to me is that I'm always in the discipline of working at my craft in between my performances and travel. I make sure everything stays oiled. It’s a musical experience that never leaves you alone. It is always hovering somewhere, asking you to do something else. I think in this case I had to narrow it down to a few songs, some that I have been performing, you know I like to try out songs on the audience before recording them. That way I can get that instant ‘you-can't-even-pretend’ kind of feedback. It is what it is. So there were a few songs like that, which I had written prior to recording but with the intention that they would be recorded. Certainly the audience helped to determine whether or not it was time to take them into the studio. I had started to record ‘The Night Is Young’ as the first song on the album because I had done a demo back in the late 80s on a cassette tape that my manager at the time had shared with a friend of his who is a disc jockey in London. The disc jockey played the cassette on the air and I guess people heard it! After that I kept getting emails about the song, which they referred to as ‘The Ni Ya’ song (since these are the vowels I sing in the song), from listeners in London. About three weeks before I actually started recording I got another email about the song and that prompted me to include it. I reworked it from the original way I had done it because it didn't feel right. It just felt heavy so I wanted to give it a lighter flavor. I started fooling around with the song on the guitar and it turned out to be what it is now. It's funny how that is, that songs happen when they're supposed to. So yeah, I've been teaching myself to play guitar, and there are a few songs that were born on the guitar such as ‘So Beautiful’, ‘Sleeping Alone’, ‘When Love Surrounds Us’ and ‘Dance the Dance’. Those songs were all written on the guitar and this is a whole new discovery for me. Wow! The whole feeling of how the melodies evolve and kind of jump out is quite different from the way I've experienced writing music from the piano for all these years. So yeah, everything was kind of being in the moment. Then there is the whole idea of taking the songs and adding musicians to them and then asking the musicians to be themselves with the music, not telling them too much of what to do but allowing them to play and to be themselves. That's why we got these really organic and strong performances, because everyone was totally approaching things from both an individualistic and collective way of playing.

JazzReview: How did this CD differ from the last album that you wrote?

Carmen Lundy: Every CD has its unique vibe. It differs because it has a different range of tunes. I kind of wanted to make you want to dance, you know, bopping around the house. I wanted that flavor of dance and groove to be in this record. We don't experience that as often as I think we could. Why can't we dance to the beat? Everybody else can dance to their music so why can't we? I think we could have explored a bit more with this concept. On the last record, ‘Solamente’, I played all the music and that was more exploratory than anything. It was never intended to be an album per se; I sort of got talked into it. Interestingly enough, in hindsight, I think it allowed the audience to experience my process of how I get to where I can bring the music to the listener. With this latest record I think the musicians were really keen on having their say into my music. We all got to participate in introducing new songs to the world. I think the CD has a wonderful feeling. I love the sonics, the sound of the record is great, I love the way that we recorded it, I love the whole energy and we had a wonderful studio setting because it was made of wood. When you are making music the acoustics are much greater when you introduce a lot of wood into the recording setting. We had such a warm feeling. We had a great engineer and a great producer. All the way along the line I think that we had a lot of great components going into the making of this record.

JazzReview: You've been in the business for quite a few years, 35 years to be precise. What do you think about jazz vocalists today as compared to when you got started? Do you feel the style has evolved somewhat?

Carmen Lundy: Well I don't know if what I'm hearing today is as exciting to me. It could be because I am too deeply involved to truly comment. I have seen the genre and this specific entity in jazz develop and we've got many more singers in jazz today than when I first began with my first record, ‘Good Morning Kiss’, in 1985. I mean, I think I was one of a handful at the time, about four or five of us. My thing is that I am about singing and introducing more songs to the public. I did make a record back in the late 80s where I sang all standards. I think it was in 1987. I did ‘Night and Day’ which was an entire record of standards. I found, that as I evolved as a composer, a jazz vocalist and a musician, the world I lived in was different from the world where those songs were considered jazz standards and jazz vocal tunes. The world is different. There is a lot of classic and beautiful material that I certainly could sing but I don't feel that I'm interested in making a career of borrowing songs from another era of American music. So, in my opinion, I prefer to stick my neck out there and have it chopped off in the interest of presenting the audience with new material that talks about what life is like for them rather than the nostalgia of what life was all about before. The interpretation of the artist has a great deal to do with how jazz has evolved. The way we have taken all these songs that started off being written for the Broadway theatre, written for this, that or the other. We interpret them in a way that identifies them as jazz standards. However as a vocalist I just don't do that. Choosing to sing songs from another era doesn’t fulfill me. I have to sing something about today, I have to sing about now, I have to sing about the idea of how the music is evolving and what it is becoming. That’s because influences are about now and have reached the entire world. The music is recognized in every corner of the globe and there are lots of musicians who would come to the United States from other countries, to learn the craft of jazz music, to learn to play and to learn to improvise. They return to their own cultures and do their thing and improve their cultural influences with the music. However, I feel that somewhere we have lost sight of the value of rhythmic concept. The whole essence of the roots of jazz music has somehow been disseminated or watered down. The focus has changed from melody and rhythm to more interesting harmony. So there are a lot of things going on right now in the music. I remain faithful to the essence of something that makes you feel great and to keeping the drive as you become familiar with the sound. Whether it’s from a place of vulnerability or because of having something new to say, I'm kind of hoping that more singers become willing to explore new material. It’s important for them never to lose sight of the element of swing.

JazzReview: What would you say is the hardest part of being in this business?

Carmen Lundy: The hardest part of being in this business is not having an audience. That’s the hardest part of all. It’s important to have listeners and the hardest part is that everybody goes in droves to other genres of music. It must be something we are not doing right. I don't know. I would love to see the black community at large, in this country from sea to shining sea, to invest more in this particular genre of music. I sing in a lot of places in this country and outside of this country. When I do gigs in America I look at the audience and I don't see black folks out there, and you know, I would just love to. For me that is the hardest part. It's that longing for a return to the relentless and eternal support that comes from our community. You know, as I speak to you, I can think of certain cities where we have a greater African American following. For example, I would say that Atlanta, Georgia is an example of where audiences are made up of the die-hards of jazz music. So it's not to say that it doesn't exist but I find that the hardest part is walking into a performance experience and finding a lot of seats empty. That makes it hard.

JazzReview: Do you think that those empty seats help to confirm the fact that jazz is a dying genre? There are a lot of people that would say that.

Carmen Lundy: The only things that are dying are all those great people. Dizzy (Gillespie) is dead and we are not going to get him back but we have his music to listen to forever and a day. Miles (Davis) and Billie (Holiday) are dead but that doesn’t mean their music died with them. To quote Sonny Rollins, "jazz is a spirit, it cannot die." Some of the greatest contributors to the music that we call jazz are no longer with us so what do we do? We can "boo-hoo" or we can pick up the torch and the mantel and keep pressing. I can't dwell on it. I can't do what Ella (Fitzgerald) did although she did leave us a great example of how to get it done and done right. Use that example and find your own voice and let's get the people interested again. Something has to get us out of bed everyday and if I can help people get up and get out of bed, then I feel okay. If I do that then the music isn't dead.

JazzReview: Do you think the media is doing enough to support jazz music and jazz artists?

Carmen Lundy: I would have to say that if you open up the Oprah magazine, or if you read Ebony, Essence and Jet, they are not covering this music. They won't write about it. I would have come and gone on this planet and some of those publications won't even put ink to paper with my name. So I think that some of the publications we depend on to inform the general public are not really doing enough in giving jazz its fair share.

JazzReview: I agree with you on that. I think that being featured in those magazines would definitely reach out to an audience that is broader than those jazz fanatics who already subscribe to jazz magazines. Can you describe how you wind down after completing a new CD? What rituals do you go through?

Carmen Lundy: Well you know I just came back after being on a European tour for a month. I am trying to practice my guitar everyday. I have a home art studio and have been painting and I think this painting has been sitting on my easel for the last four or five months. It’s a way to walk away from the intense energy that is required to do what I do. It is a way to relax but still be in creative mode. But not for long because I always have to address what's coming next. So yeah, there are a lot of performances in the near future so I try to use the downtime in a productive way, in a quiet and creative way.

JazzReview: Speaking about your art, I heard that one of your pieces of art is on the cover of the new CD. Tell us more about that.

Carmen Lundy: The piece consists of mosaic, stone and glass tiles and it's entitled "Now, Tomorrow, Yesterday and Forever." I remember going to the Norton Simon Museum and coming home and starting that piece last summer but I think I always liked all the different paintings of the sun that you would see on the CBS Sunday Morning program. I just love those different ways they were done and I wanted to see if I could do that in my own way and use a different material. I wanted to try something like that. That was the inspiration behind it. I have a few things in my home with mosaic tiles. I wanted to try that medium since stone is forever. I wanted to do something that had feelings of radiating the human spirit and that whole feeling of energy and the source of energy wherever that comes from. Some people say there is only one source and that's God and that's fine with me but I think we all have God in us and this was a way to try, in my small little way, to represent the energy that is now, tomorrow, yesterday and forever.

JazzReview: Art and jazz usually go well together. Have you thought about doing an exhibition combining jazz and your artwork?

Carmen Lundy: Combining jazz and art? I find there is a challenge in mixed media since you're kind of asking for people's attention in two different facets of themselves. I have done a few exhibits; my art was exhibited at The Madrid Theatre in Los Angeles, where I did a live concert, so the Madrid was pretty much an exhibition of my artwork and indoors was an exhibition of my songs. People received it but I think it asked a lot of the audience. I don't know if you can ask them to buy a ticket for the show and buy your painting at the same time. Yet some people have and I think it is a compliment but it's also nice for them to take my music and have it resonating through their home. I think it is all in the way it is designed and marketed but it is mixed media. If you notice, several of my album covers are from my artwork, paintings or some form of my art. I think over time, people may associate my body of art and my body of songs. For the audience to embrace one collective offering would I think be of more interest in the future than it is now.

Carmen Lundy: Well, I am scheduled to tour with my band for east coast and west coast CD release events. We will be at the Jazz Standard in New York on March 8-11 and then in Los Angeles at Vitello's on March 29 and 30. After that its on to the Jazz Alley in Seattle for dates on April 3 and 4, April 14th we'll be in Phoenix, AZ, and on May 10 and 12, we'll be at The Mary Lou Williams Women In Jazz Festival at The Kennedy Center in Washington D.C. After that, on June 17th, I'll perform with Terri Lyne Carrington at the Hollywood Bowl in Los Angeles as part of the Playboy Jazz Festival in support of her Grammy winning album ‘The Mosaic Project’ on which I had the honor of performing one of my songs, ‘Show Me A Sign’. July sees me at The Artown Jazz Festival in Reno, NV and there are also probable dates in Colorado and Northern California. As I said earlier I just finished a European tour in London, Athens, Istanbul and Paris. We'll be going back to Europe in November and December, along with South Africa! I guess that brings us to winter and a few more gigs. It will be interesting to see how things develop.

More about ‘Changes’ and Carmen's voice on the smooth track titled ‘The Night Is Young’ is lithe in the extreme and it's amazing to hear how she effortlessly shifts and segues within the melody. Indeed Lundy darts into altos and sopranos with consummate ease, sometimes without even pausing to catch her breath. Evidence of this can also be heard on the emotional and expressive ‘So Beautiful’, which she uses to celebrate new love. ‘Love Thy Neighbor’ is an infectious song with a powerful message about love without discrimination and a line that alludes to the fact "we all live by the same clock". Other songs on the CD include the soft and engaging ‘A Nightingale Sang in Berkeley Square’ while ‘Sleeping Alone’ commences with a lone acoustic guitar that sets the stage for a fluid, bright and gorgeous melody. Elsewhere ‘Too Late for Love’ speaks about mending love while both ‘To Be Loved by You’ and ‘Dance the Dance’ provide Carmen with the opportunity to regale the listener with sumptuous swaying, upbeat sounds. The CD's closing track is the acoustic laden ‘Where Love Surrounds Us’. It’s a delicate song from which Carmen's well-controlled vocals come shining through and is nothing short of magical.

Contemporary Jazz is good for crossover and for new listeners of the art form, however true jazz lovers definitely appreciate it when an artist can take it back to straight ahead jazz.Turkish drummer Ferit Odman has done just that; he has taken listeners back to the classic sound with the results being nothing short of entertaining. This is the type of compilation you would love to use as a wind down as you sit at the fireplace with your loved one during the cold months. Don't rule it out to accompany you and your family on a relaxing rides out…

Contemporary Jazz is good for crossover and for new listeners of the art form, however true jazz lovers definitely appreciate it when an artist can take it back to straight ahead jazz.Turkish drummer Ferit Odman has done just that; he has taken listeners back to the classic sound with the results being nothing short of entertaining.

This is the type of compilation you would love to use as a wind down as you sit at the fireplace with your loved one during the cold months. Don't rule it out to accompany you and your family on a relaxing rides out of town either.

With Ferit on the drums, he is joined by trumpeter Terell Stafford and Vincent Herring on alto-sax, Peter Washington on bass and Anthony Wonsey appears on piano. Ferit and the band have done some pretty impression interpretations of jazz standards on this compilation and what makes this recording even more loveable is how well they all play together.

"Step Lightly" is the perfect choice to start off the compilation, it is an engaging piece that has a bit of swing to it and the kind of song that you could easily finger snap along with. The CD is dedicated to the late pianist and composer James Williams and it is only fitting that Ferit would do a treatment of James' popular "Alter Ego."

Ferit's version is smooth and classy and captures all the sensations that the original track has without coming across as a Xerox. Indeed, James would have been impressed.

"Autumn in New York" is another popular ballad that is as graceful as a swan gliding on the water while "Hindsight" gets you in a good mood; you would want to go see and hear Ferit and the band play in person.

"Changing the Guard" offers a lot of musical twists and turns but manages to produce a festive and catchy song.

The CD closes with "The Soulful Mr. Timmons."

Ferit recently wrapped up a few performances with known jazz pianist Jacky Terrasson in his hometown.

Fresh off last year's Grammy nomination for his Jeff Lorber Fusion project 'Now Is The Time', Lorber has wasted no time in taking the concept back to the studio. The follow up, 'Galaxy', was released on January 31st and, with eleven choice cuts, finds this consummate keyboard player, composer and producer exploring new and refreshing grooves while also revisiting four old songs from the JLF back-catalog. The collection also includes outstanding contributions from JFL regulars Eric Marienthal on sax, percussionist Lenny Castro, trumpeter Randy Brecker, guitarists Paul Jackson Jr. and Larry Koonse, drummers Vinnie Colaiuta and Dave Weckl plus legendary…

Fresh off last year's Grammy nomination for his Jeff Lorber Fusion project 'Now Is The Time', Lorber has wasted no time in taking the concept back to the studio. The follow up, 'Galaxy', was released on January 31st and, with eleven choice cuts, finds this consummate keyboard player, composer and producer exploring new and refreshing grooves while also revisiting four old songs from the JLF back-catalog. The collection also includes outstanding contributions from JFL regulars Eric Marienthal on sax, percussionist Lenny Castro, trumpeter Randy Brecker, guitarists Paul Jackson Jr. and Larry Koonse, drummers Vinnie Colaiuta and Dave Weckl plus legendary bass-player Jimmy Haslip who built a sizeable reputation through his time with Yellowjackets.

The music of 'Galaxy' is rooted in fusion which is very much a style that Jeff has successfully utilized over the years, both with his live performances and in the studio, to secure what is now a formidable fan following.

This time around there is a lot of energy in the music and this starts as early as the first track. Titled 'Live Wire', it runs for seven minutes and cleverly marries house music with contemporary jazz. 'Big Brother' has a smoothness that is achieved by Jeff's delightful keyboard arrangement which is front, back and center stage of this excellent track. That said, the sound of the piano never outshines the rest of the musical instruments but is nevertheless a nice addition to what is an extremely upbeat and finger-snapping piece of work.

Listen out for 'Montserrat' which is a track built around the 1980 hit by the Police called 'When The World Is Running Down, You Make the Best of What's Still Around' while elsewhere the festive and lovely 'Singarara' features a clever mix of contemporary jazz peppered with joyful salsa music. Lorber also includes a tribute to Horace Silver which he simply titles 'Horace'. In fact Jeff credits jazz pianist Horace as the man who first inspired him to play and later in the CD Jeff make old favorites come alive by adding some futuristic grooves to 'Wizard Island', 'City', 'The Samba' 'The Underground'.

In conversation with JazzReview.com, Jeff told me more about the new album.

JazzReview: Kudos on your new CD Jeff. I remember the last time we spoke we were talking about 'Now is the Time' and now, after what seems like just a few months, here we are again. Did this new album really come together that quickly?

Jeff Lorber: I think a lot of it happened around a year ago. We did a lot of the recording in December of 2010. In all we finished the project over a four to six month period.

JazzReview: Within that short of space of time how was it possible get all those in-demand musicians to work with you?

Jeff Lorber: Well, luckily for me there are so many great players in Los Angelesand without a doubt one of the finest drummers is Vinnie Colaiuta who is very versatile and I was very lucky to get him. Musically he has a wonderful sense of time and in a way that is the foundation. Once you get good tracks and drums, it's good. Basically there are just some fantastic players in town. There is Eric Marienthal and Paul Jackson Jr. who are both funky. Then there is Michael Thompson who specializes with effects and he can get those effects from his music because he uses so many different styles.

Larry Koonse is more or less a straight ahead soloist. We actually didn't look to him for rhythm or support but in fact he shines. For the most part, some of the guys that I used this time around were on my 'Now is the Time' recording. I haven't worked with Vinnie in years. I worked with Eric a lot and also started using Jimmy more and more. I also knew some of the other guys from when I first moved to LA. For example my history of working with Paul Jackson Jr. goes back to when he was a teenager. Larry is relatively new. I used him on my last record.

JazzReview: You have played fusion music for years and it has become one of your more signature styles. I also remember some fusion styles being on the last CD. Why did you decide to go down this musical road again?

Jeff Lorber: Everybody was kind of happy with the results of the 'Now is the Time' record and the audiences we were playing for liked the music and the idea of bringing back fusion music. Fusion music is energetic and adventurous both harmonically and melodically. On the last record we had some vocals and a few songs that were in the direction of R&B. This time around we are offering a more focused record with excitement in the music.

JazzReview: Describe the type of fusion that you have experimented with on the latest CD.

Jeff Lorber: We used a lot of electrified jazz which is energetic. However, the focus is not so much on the sounds as much as it is on the writing, the rhythm, the soloing, the feel of the group and the interaction of the players as they perform together.

JazzReview: What is your overall view about this new CD?

Jeff Lorber: To be honest with you, and I'm sure every artist says this; this is one of my favorite records. I have been listening to it a lot and enjoying it.

JazzReview: Do you have a personal favorite?

Jeff Lorber: 'Montserrat' is my favorite. Of course there are some songs on there that we reinterpret. I'm really excited about the new music. The older ones have been underground for quite a few years and this was a way to document how my music has evolved over the years.

JazzReview: Let's talk about some of the tracks on the CD. The first track 'Livewire' is very upbeat and high energy stuff.

Jeff Lorber: It definitely has a house music feel with a European kick drum kind of a characteristic. Michael Thompson plays incredible and although he is the sound guy he plays an exciting, very electric, kinds of sound which makes the instrument appear more like a synth than a guitar. Then there is Vinnie who plays the drums and it's spontaneous and inspired and that keeps it exciting. I think 'Livewire' leans towards electronic music. I think melodically, from the songwriting standpoint, it's pretty solid. People like that.

JazzReview: What about the older tracks on the album?

Jeff Lorber: 'Wizard Island' is a big favorite of mine as well. It has a great melody and people ask for it all the time. 'The Samba' has been popular in Europe and sampled in remixes. The original version featured Chick Corea. 'City' is a fun song that has an interesting melody and groove and of course there is 'The Underground'. I have learned so much since I first recorded those songs. Back then I did not have the musicians of this caliber to work with so, to reinterpret them, we have given the songs a fresh coat of paint.

New Orleans trumpeter Nicholas Payton has never conformed to anyone or anything. Reading his Facebook posts and Twitter “tweets”, you sort of get an idea about how un-traditional he is. He speaks his mind and, should someone attempt to challenge him on his views, is hardly lost for words. His outspoken nature has allowed him to create material for “Bitches”, a CD with a controversial title with tracks that draws experiences from his own love life.

New Orleans trumpeter Nicholas Payton has never conformed to anyone or anything. Reading his Facebook posts and Twitter “tweets”, you sort of get an idea about how un-traditional he is. He speaks his mind and, should someone attempt to challenge him on his views, is hardly lost for words. His outspoken nature has allowed him to create material for “Bitches”, a CD with a controversial title with tracks that draws experiences from his own love life.

The tracks on “Bitches” are pleasantly unique and listeners can hear Nicholas sing on tracks that have the sort of unexpected musical nuances that transcend the boundaries of jazz music. Nicholas plays just about every instrument on this new collection and he has also employed the services of some jazz vocal heavyweights including Cassandra Wilson, Grammy award winner Esperanza Spalding, N’Dambi and Chinah Blac to name a few. The music of “Bitches” deviates from what might be described as Payton's signature sounds and this musical diversity adds hugely to what is an extremely appealing mix.

The hybrid of jazz blended with funk, R&B, neo soul and pop music is engaging to say the least. “Bitches” was developed in two acts: one of burgeoning love and the other of a breakup. The first track, the funk-induced “By My Side”, is a tune that is reminiscent of 80s funk with all the trimmings of synth bass and drum machines while Payton's vocals can be compared to a controlled CeeLo Green. “Freesia” is the track that follows. It features Esperanza Spalding on vocals and develops into a groovy, head bopping number that is an immediate fan favorite. The song gets its shine from Nicholas’ fluid flugelhorn which darts in and out of the unique melody. Elsewhere, Nicholas is charming on the sexy and melodically ballads that form much of the first act and this is particularly so on “Togetherness Foreverness” for which he is paired with singer N’ambi.

Pour the wine, recline and enjoy the beguiling “Shades of Hue”, a track which features Payton's eloquent trumpet solo. Tracks like “Indigo” and the “You Are The Spark” are delightful numbers that close off the first act. The second act is when the music advances into third gear and “The Second Show (Adam’s Plea)” has the mood of an eighties pop song which places the listener firmly into the wonderful land of synths and high-pitched harmonies. In terms of personal favorites “Flip the Script” features Saunders Sermons and I predict that deejays will have a field day spinning out remixes to this one. With a melody that follows niether rhyme or reason its flexibility is perfect for the addition of musical tricks.

As eccentric as the beats on this track are, they all come together quite seamlessly when you least expect it. Other notable tracks on the Second Act is the playful “iStole your iPhone” and the evocative “You Take Me Places I’ve Never Been Before” which proves to be a stunning ballad that features Cassandra Wilson as guest vocalist. The CD closes with the title cut, a rollicking song with humorous lyrics and the perfect way to end the CD.

Nicholas, who has been busy promoting the release of his new CD, took some time out to talk to JazzReview.com

Jazz Review: Nicholas, most would admit that this new CD deviates from some of the music you have done in the past; this time around you used a lot of synth instruments and of course you sing. Tell us more about your decision to do this.

Nicholas Payton: It’s something I’ve been working towards for quite a few records, back to “Dear Louis.” I also sang a tune on “Into The Blue.” Electronic instruments were heavily employed on “Sonic Trance” and my love for R&B goes as far back as “Payton’s Place” with “People Make the World Go ‘Round” and “Nick @ Night” with “Sun Goddess.” I think in a lot of ways these ideas are things I experimented with progressively throughout my discography. It is something I’ve wanted to do for a while.

Jazz Review: How long did the CD take to put together?

Nicholas Payton: I’ve been writing tunes with lyrics for over 10 years now. I wrote “Freesia” in 1998 making it the oldest tune on the record. Most of the songs with live bass and drums were written for "Into The Blue", the rest were composed around the summer of 2009.

Jazz Review: You play all the instruments on this CD plus you sing, I think this is very impressive. Why didn’t you use other musicians this time around?

Nicholas Payton: When I did “Into the Blue,” I recorded demos before I went in the studio. I sent them to the cats in advance so they could get a feel for the vibe of the record. I remember one of my musicians at the time said jokingly, “You can make the record yourself. You don’t need us.” That stuck with me. People had been telling me for years I should do a record playing all the instruments, but I never wanted it to be a thing of novelty. It grew organically out of me recording these demos and that was the genesis of the tracks for “Bitches.”

Jazz Review:: The music here is filled with beats that seem mismatched with lovely chord progressions like I've never heard before, but they manage to all fall in place to make something really fantastic. You also have different types of moods to each track. Talk more about that.

Nicholas Payton: I’m just being true to me. I’m not trying to be original per se, just writing what I feel. I mean, all of these tunes are derived from real-life experiences. The songs here tell a story and they all represent a different aspect and manner of love. I put words and music to things that I really felt at one particular time so in that regard it was pretty easy to be original or different. Writing it was therapeutic, I put my energy and emotion into it.

JazzReview: What inspired you to write this CD?

Nicholas Payton: All my music is autobiographical, however some of it is not necessarily from my perspective but how I imagine someone else would feel in a situation. Regardless of the source, they are all ultimately filtered through my vision.

Jazz Review: On your Facebook wall you posted a link of a Bessie Smith song and said that you used her reference of “sausage meat” in the song “Bitches.” Did you borrow a lot of phrases from old jazz songs the way you did here?

Nicholas Payton: “Sausage meat” was taken from a song by Bessie Smith called, “Kitchen Man.” I used to hear my dad play that tune in a New Orleans play based on the Vaudeville era called “One Mo’ Time” written by Vernel Bagneris. I recalled it by virtue of the environment that I grew up in but made no conscious attempt to insert it into my piece. When things like that come through, it is because they are a genuine part of my life.

Jazz Review: How long does it take you to compose a song?

Nicholas Payton: When I write a tune, I’m in the zone so it doesn’t take too long. I wrote “iStole Your iPhone” in five minutes. I don’t really write music or tunes per se, I don’t sit at a piano and say “I’m going to write a song.” I just get a feeling. Something inspires me and I immediately hear chords or rhythms which feel like that experience to me. There are times when I can’t control the compositional aspect because it just keeps coming. At a certain point, I feel almost like I want it to stop because it’s painful, like having a baby. It’s exhausting. The creative part of it is so heavy, so fast and rapid, I feel like I can’t contain it. I didn’t set out to do a record like this, the story told itself.

Jazz Review: Okay, let’s talk about your guest vocalists, because you have managed to get some of the best in the industry on this album. How did you go about choosing them?

Nicholas Payton: Because I played all the instruments on the recording, I wanted to have some other energy to balance the project out so guest vocalists seemed like the way to go. Each piece has a character and I selected the guests according to who I felt would best represent a particular song.

Jazz Review: So what do you think real straight-ahead jazz musicians, those who never stray from a specific genre, what would they think about “Bitches?”

Nicholas Payton: To be honest, I don’t really give much consideration at all to what musicians think. That said, most cats I know are open-minded, critics that’s another story. “Bitches” is a blues record. I don’t look at music in terms of being jazz or bebop. Genres are like colors to me. When I’m trying to paint a picture, the idea is not to limit myself. The more colors, the more options and different places I can go. Will everybody like it? No. But that’s okay, not every soul and R&B artist will like it either. Most of the guys I know who swing like all sorts of music even if they don’t play it.

Jazz Review: What sort of feedback are you getting so far with the new CD?

Nicholas Payton: Feedback has been positive for the most part. However, there are people who have been turned off from the title of the record alone. After much debate, Concord Records decided not to release it, so they gave it back to me. Fortunately, I was able to secure a licensing deal with In And Out records which, quite honestly, is a much better situation.

Jazz Review: What are they saying about the title of the CD in particular? One must admit it can get people talking.

Nicholas Payton: There appears to be a lot of controversy surrounding the title. It garnered a lot of buzz even before the record was released. I believe it’s largely due to the fact that the album is called “Bitches” and it’s an R&B record from an artist who is considered straight-ahead. I don’t pay mind to the categorizations. I’m an artist and I express myself in different ways; through song, through composition, through my voice, in words, in music and many different aspects. I can’t make everybody happy, nor do I try. I create music that is true to me, and whether you like it or not, it’s real. That’s really my whole thing, to make music that’s honest. I haven’t been wrong in that. Some people out there will get it. Some won’t. The more personal my journey is, the deeper it gets, the stronger the reaction.

Jazz Review: So, now that the CD has been launched, what do you have planned next?

Nicholas Payton: I have a couple of projects in mind. In terms of music and ideas, I have enough material for five records ready to go right now. Last year was the American debut of my 21-piece big band The Nicholas Payton Television Studio Orchestra. I love the energy of an ensemble of that size so I want to focus heavily on getting it off the ground as well as my other groups of various sizes. For the rest of the year I am going to chill and resume touring in 2012.

]]>morrice.blackwell@gmail.com (Asha Brodie)Jazz Artist InterviewsFri, 25 Nov 2011 13:53:15 -0600The Mosaic by Terri Lyne Carringtonhttp://www.jazzreview.com/cd-reviews/various-jazz-styles-cd-reviews/the-mosaic-by-terri-lyne-carrington.html
http://www.jazzreview.com/cd-reviews/various-jazz-styles-cd-reviews/the-mosaic-by-terri-lyne-carrington.htmlWhen jazzy sisters meet to spend some time together, the result can be found in the highly intelligent and welcoming "The Mosaic Project", a compilation from Boston drummer Terri Lyne Carrington.

When jazzy sisters meet to spend some time together, the result can be found in the highly intelligent and welcoming "The Mosaic Project", a compilation from Boston drummer Terri Lyne Carrington.

Some of the A-list female jazz musicians are on hand to lend their talent and it goes without saying that this compilation could very well become a favorite with the female audience; the male listeners would cling to its seductive vocals and melodies.

Nona Hendryx opens the 14 song set with the lyrically potent "Transformation", a track that takes you through highs and lows musically. The track is where neo-soul and jazz meets and is truly delightful. The first track is every indication that while the foundation of this CD is jazz, the materials used in constructing it tastefully incorporates many genres.

Vocalist Gretchen Parlato is on hand with the Irving Berlin "I Got Lost in His Arms" and it is an instant favorite. Gretchen's airy and purely sensual vocals float over a track that is mellow one minute and edgy the next, the latter thanks to the use of electric guitars.

The Beatles' "Michelle" has found its way as an unofficial jazz standard and this version does not disappoint. This is straight-ahead jazz at its finest as the musicians individual work each take center stage in a series of solo efforts here. Terri Lynne's skilled drum work keeps time for Geri Allen on piano and Ingrid Jensen on trumpet.

Relive the civil rights era with poignant Bernice Johnson Reagon penned "Echo", a track which features opening commentary by activist Angela Davis and strong vocals by Dianne Reeves. The lyrics here are thought-provoking: "You can steal my tongue/ I dare you to try and hush my song/ my streams of freedom will flow the air/ of your children centuries unborn.

Esperanza Spalding shows why she is a Grammy Award winner on the enchanting and contagious "Unconditional Love", a track that was written by Geri Allen. Esperanza's vocals are innocent and dripping honey as it further sweetens this beguiling melody, her bass work here is also worth hearing.

Later, Esperanza returns on the clever and fun track "Crayola", a happy-go-lucky melodically-infused song which matches her carefree personality.

Elsewhere on the CD you can hear Dee Dee Bridgewater on "Soul Talk" and Cassandra Wilson on "Simply Beautiful." "Magic and Music" is a stirring tribute to late singer Teena Marie and one can really get into the meaty and musically rich "Mosaic Triad" featuring Helen Sung's finger sprint on the keyboards.

"Show Me the Sign" featuring Carmen Lundy may be the shortest track on the CD but it holds a lot of integrity and feeling. The drums featured on here take on a life of its own, it's hard not to experience goose bumps while listening to it. It is the perfect song for a CD closer.

FREE DOWNLOAD from Mosiac

]]>morrice.blackwell@gmail.com (Asha Brodie)Various Jazz Styles - CD ReviewsSun, 03 Jul 2011 13:29:56 -0500The Gates BBQ Suite by Bobby Watsonhttp://www.jazzreview.com/cd-reviews/big-band-swing-cd-reviews/the-gates-bbq-suite-by-bobby-watson.html
http://www.jazzreview.com/cd-reviews/big-band-swing-cd-reviews/the-gates-bbq-suite-by-bobby-watson.htmlLike a delightful summer barbecue and the camaraderie of friends and family, renowned jazz saxophonist, Bobby Watson, actually recaptures it all on his CD The Gates BBQ Suite, featuring the UMKC Conservatory of Music and Dance Concert Jazz Orchestra. The CD is a tribute to the famous Gates BBQ in Kansas City and on the liner notes, Bobby expressed his appreciation for barbecue describing it as food that always represented a “celebration in my life." “Smoking meat remains near and dear to me," s

Like a delightful summer barbecue and the camaraderie of friends and family, renowned jazz saxophonist, Bobby Watson, actually recaptures it all on his CD The Gates BBQ Suite, featuring the UMKC Conservatory of Music and Dance Concert Jazz Orchestra. The CD is a tribute to the famous Gates BBQ in Kansas City and on the liner notes, Bobby expressed his appreciation for barbecue describing it as food that always represented a “celebration in my life." “Smoking meat remains near and dear to me," says Watson. "It is relaxing and exciting at the same time.”

You can tell Bobby’s passion for the beloved barbecue; the CD is filled with music that would put you in a festive mood, not to mention the CD cover that features pots, pans and meat on the grill. This is the type of CD that you would want to take along with you when you actually enjoy your backyard summer barbecue picnics. Oh how I love this CD, let me count the ways.

First of all, the CD’s first track, “May I Help You,” holds your curiosity from the get-go. You only hear the sounds of powerful brass and swelling drums so you are not sure which direction it would go musically, but it breaks down into a mellow arrangement that is truly worth the wait. This is followed by “Beef on Bun,” a track that is refreshing and no doubt infectious enough to get the outdoor party started. “Heavy on the Sauce!” is bluesy and would get you doing the finger-snapping, head-bopping thing...followed by “Blues for Ollie,” a tribute to the owner of The Gates BBQ Suite.”

“The President’s Tray” is musically superb as the orchestra is cohesive and you can hear the horn section glide over a buoyant melody that is stately and very distinguished one minute, and festive and samba-tinged the next. The track “One Minute Too Late” is the perfect track for unwinding after you have eaten as you fraternize with a few friends and family at your backyard party (although Bobby wrote it for a different reason). He said the whining and wailing sounds of his sax on this track was intentional; it represented the disappointment he felt when he would rush to Gates BBQ hoping to grab a meal after a performance, only to find out that they were closed for the night. By the time the song is finished, you can shake a leg or two to the soulful “Wilkes’ BBQ,” a song dedicated to Watson’s grandparents who were also good at the grill. Only seven tracks in total here, but like a good BBQ, it leaves you wanting more.

]]>morrice.blackwell@gmail.com (Asha Brodie)Big Band / Swing - CD ReviewsTue, 08 Mar 2011 00:00:00 -0600String Choir – The Music of Paul Motian by Joel Harrisonhttp://www.jazzreview.com/cd-reviews/other-cd-reviews/string-choir-%E2%80%93-the-music-of-paul-motian-by-joel-harrison.html
http://www.jazzreview.com/cd-reviews/other-cd-reviews/string-choir-%E2%80%93-the-music-of-paul-motian-by-joel-harrison.htmlJoel Harrison is an illustrious guitarist and composer in the jazz circles and not to mention a great bandleader and he has put his many talents on his latest compilation called String Choir – The Music of Paul Motian which was released on January 23. Recapturing the music of straight-ahead jazz musician Paul Motian is no easy feat especially when the interpretation is within another genre; in this case classical. But Joel has pulled it off on this fully-stringed compilation that offers music on

Joel Harrison is an illustrious guitarist and composer in the jazz circles and not to mention a great bandleader and he has put his many talents on his latest compilation called String Choir – The Music of Paul Motian which was released on January 23. Recapturing the music of straight-ahead jazz musician Paul Motian is no easy feat especially when the interpretation is within another genre; in this case classical. But Joel has pulled it off on this fully-stringed compilation that offers music on another plateau.

As with everything else, chamber music such as what is encapsulated here is indeed an acquired taste. If you are not into classical music you would find yourself struggling musically to grasp the pure intelligence and musical heights of this recording. The CD’s opener is the dreamy “It Should Have Happened a Long Time Ago” a track that gets its shine from a vulnerable sounding violin. Hear the quirky “Drum Music” a track that puts the drums and strings center stage in a piece that can well be labeled as musical art; it would work perfectly at a dance recital. Listen for the beguiling melodies on Beethoven’s “Cathedral Song” and “Owl of Cranston”, the latter with an arrangement that seem to mimic a bird in flight. Elsewhere on the CD are the futuristic-sounding moments that are within “Mumbo Jumbo” followed by “Split Decision” and the CD’s closer “From Time to Time”.

]]>morrice.blackwell@gmail.com (Asha Brodie)Other - CD ReviewsMon, 07 Mar 2011 18:00:00 -0600A Night In Monte-Carlo by Marcus Millerhttp://www.jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/a-night-in-monte-carlo-by-marcus-miller.html
http://www.jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/a-night-in-monte-carlo-by-marcus-miller.htmlMarcus Miller performing live is indeed a very euphoric experience, and those who have never been so fortunate might as well grab a copy of his latest CD “A Night in Monte-Carlo,” which is due for a February 1st release. The CD is a live audio documentation of one of Marcus’ treasured performances in Monaco back in 2008. Marcus is backed up by the L’Orchestre Philharmonique de Monte-Carlo and is also joined by trumpeter Roy Hargrove and guitarist Raul Midon. Out of the box, the first track on th

Marcus Miller performing live is indeed a very euphoric experience, and those who have never been so fortunate might as well grab a copy of his latest CD “A Night in Monte-Carlo,” which is due for a February 1st release.

The CD is a live audio documentation of one of Marcus’ treasured performances in Monaco back in 2008. Marcus is backed up by the L’Orchestre Philharmonique de Monte-Carlo and is also joined by trumpeter Roy Hargrove and guitarist Raul Midon. Out of the box, the first track on the CD gives you a good idea of what is to come musically: all the twists and turns of an engaging plot that you would never expect.

Appropriately titled “Blast,” the first track opens with tabla, bells and sitar sounds that are soothing and therapeutic. Enter Marcus with his funky bass heating things up and taking the music to another welcoming direction. Miles Davis’ “So What” takes a hauntingly beautiful turn trapped in melodic intro arrangement; hold on to that moment because soon it’s going to get a little bit smooth and jazzy in some paces within the song. The contrast works as things are kept smooth and sweet to the very end of this track. Listen out for the brilliant string work from the orchestra; it can give you goose-bumps, not to mention Marcus’ solo fret dance within, which is truly genius.

Bass and acoustic guitar go well together; add a strong and melodic voice and you have yourself a tasty treat in the finger-snapping “State of Mind.” Marcus continues to show his bass playing prowess on his brilliant treatment of a few standards such as “I Loves You Porgy” and “I’m Glad There is You,” the latter which features Roy Hargrove on flugelhorn adding romance and mystique to this already enchanting song. Also on the CD is “Medley: O Mio Babbino Caro/ Mas Que Nada,” “Your Amazing Grace,” a track that is contemporary without loosing the spiritual elements and a somber version of Billie Holiday’s revered “Strange Fruit”.

]]>morrice.blackwell@gmail.com (Asha Brodie)Straight-Ahead - CD ReviewsMon, 07 Mar 2011 12:00:00 -0600A Night In Monte-Carlo by Marcus Millerhttp://www.jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/a-night-in-monte-carlo-by-marcus-miller.html
http://www.jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/a-night-in-monte-carlo-by-marcus-miller.htmlMarcus Miller performing live is indeed a very euphoric experience, and those who have never been so fortunate might as well grab a copy of his latest CD "A Night in Monte-Carlo," which is due for a February 1st release.

Marcus Miller performing live is indeed a very euphoric experience, and those who have never been so fortunate might as well grab a copy of his latest CD "A Night in Monte-Carlo," which is due for a February 1st release.

The CD is a live audio documentation of one of Marcus' treasured performances in Monaco back in 2008. Marcus is backed up by the L'Orchestre Philharmonique de Monte-Carlo and is also joined by trumpeter Roy Hargrove and guitarist Raul Midon. Out of the box, the first track on the CD gives you a good idea of what is to come musically: all the twists and turns of an engaging plot that you would never expect.

Appropriately titled "Blast," the first track opens with tabla, bells and sitar sounds that are soothing and therapeutic. Enter Marcus with his funky bass heating things up and taking the music to another welcoming direction. Miles Davis' "So What" takes a hauntingly beautiful turn trapped in melodic intro arrangement; hold on to that moment because soon it's going to get a little bit smooth and jazzy in some paces within the song. The contrast works as things are kept smooth and sweet to the very end of this track. Listen out for the brilliant string work from the orchestra; it can give you goose-bumps, not to mention Marcus' solo fret dance within, which is truly genius.

Bass and acoustic guitar go well together; add a strong and melodic voice and you have yourself a tasty treat in the finger-snapping "State of Mind." Marcus continues to show his bass playing prowess on his brilliant treatment of a few standards such as "I Loves You Porgy" and "I'm Glad There is You," the latter which features Roy Hargrove on flugelhorn adding romance and mystique to this already enchanting song. Also on the CD is "Medley: O Mio Babbino Caro/ Mas Que Nada," "Your Amazing Grace," a track that is contemporary without losing the spiritual elements and a somber version of Billie Holiday's revered "Strange Fruit".

Mindi Abair fans, mark your calendars. Your favorite sax player is about to drop her latest CD set called "In Hi-Fi Stereo" on May 18th. The CD gives listeners a treat as Mindi is paired up with some really solid industry musicians such veteran drummer James Gadson, bassist Reggie McBride and then there is the incomparable Lalah Hathaway who would blow you away with her impressive chops. Most of the tracks on this CD just make you want to get out of your chair and shake something and you can very well blame that impulsive move on the CD's opener "Any Way You Wanna". There is a vibrant funky beat on this track which flourishes as a result of a bubbling bassline and Abair's stunning intonation taking top form here. Elsewhere on the CD is the Motown inspired "All Star" which is soul-laden and would be an instant favorite with the more mature audience.

Later on the CD take one for New Orleans in the form of "L'Espirit Nouveau" which features a musical jambalaya of sorts; there is a rag time feel to it and the basic instruments used on this track is definitely a refreshing break from the world of synths. "Be Beautiful" is also another track that would stand out for most as it is a very engaging and soulful number which feature's David Ryan Harris on vocals. The track is also lyrically potent and it is easy to predict that this track would get the thumbs up from the deejays at the contemporary jazz radio stations. They would also swoon over Lalah Hathaway's delivery of James Brown classic "It's a Man's Man's World" a lovely ballad which features Lalah's throaty vocals moving in and out of a stirring arrangement. The song set closes with "The Alley".